36. “The Beginning of German Theater”

In the series of "University Lectures for Everyone", one has been published that introduces the history of the origins of the German stage. Prof. Dr. Georg Witkowski deals with the topic: "The beginnings of the German theater". With the brevity necessitated by his task, he shows that this important factor in our intellectual life did not take its place in German cultural life until very late. In the Middle Ages there was no real theater in Germany. The content of serious poetry, which appeared in dramatic form, was taken from biblical history, and its presentation followed the church service. Scenes from the Old and New Testaments were performed at Easter and Christmas. They did not have the purpose, which every real dramatic poem must have, of presenting soul struggles for their own sake; they wanted to present sacred history in a vividly vivid way. Nor can the comic performances that were put on by craftsmen and schoolchildren at carnival time really be described as dramatic performances. They mostly dealt with small court scenes, marital disputes and crude jokes, which usually mocked the peasants from the townspeople's point of view.... The actors traveled from house to house, acting out their roles without any scenic means and certainly developed a very low level of acting skill, because where would that come from for the brave craftsmen and students? After the Reformation, conditions in Germany were more favorable for drama. Luther favored student performances because he believed that they had a positive influence on public opinion. "Comedies should not be hindered for the sake of the boys at school, but should be permitted and allowed, firstly, that they practise the Latin language, and secondly, that in comedies such characters are artificially condensed, painted and portrayed in a fine way, so that the people can be instructed, and everyone is reminded and admonished of his office and station, what is proper for a servant, master, young journeyman and old man, and what he should do; indeed, all degrees of dignity, offices and duties are held up and presented to the eyes, as in a mirror, how everyone should conduct himself in his station in his outward behavior. " In the period that followed, the drama of guilt flourished. But it could not achieve much, because the views on the nature of dramatic technique were of the most primitive kind. It did not go beyond a dialog spread over several characters. The impetus for a truly dramatic art in Germany came from the English. This developed with admirable speed at the end of the sixteenth century. The first theater building was erected in London in 1576, and by the end of the century there were more such artistic institutions in the city than there are today. And just as quickly, English drama developed from simple plays with religious and moral-didactic tendencies to the masterpieces of Shakespeare.

The art that developed there was also brought to Germany by traveling troupes of actors. In 1586, one such troupe, led by William Kempe, arrived at the Dresden court. From this time onwards, these companies of comedians appeared in a wide variety of places. They put on English plays, sometimes in an unheard-of corruption. However, plays were also written by Germans and performed by such companies. The leader of such a troupe usually played the leading role, which had to be a comic character. The plays that were performed had to be put into a form that allowed the leader to appear as this typical comic figure. - We have knowledge of these performances almost exclusively through the council minutes and tax tables of the cities, which show us what burdens the authorities imposed on the traveling troupes. There were no theater reviews or anything similar at this time. - The dramatic art in Germany had the character indicated here during the last years of the sixteenth and the first third of the seventeenth century. Witkowski shares a playbill from Nuremberg that gives us a glimpse of what was on offer: "Everyone should know that a whole new company of comedians is arriving here, who have never before been seen here in this country, with a very funny pickelhering, who will perform daily, beautiful comedies, tra; pastorelles (Schäffereyen) and histories, mixed with sweet and funny interludes, and today they will present a very funny comedy called "Die Liebes Süßigkeit verändert sich in Todes Bitterkeit. After the comedy, a beautiful ballet and ridiculous farce will be presented. The lovers of such plays want to gather at the fencing house after noon bell 2, where the praecise is to begin at the appointed time." Regarding the expression Pickelhering, which means kipper, it should be noted that the aforementioned comic figure at the center of the performances gave himself names of popular foods: Hans Wurst, Hans Knapkäse, Stockfisch and so on. - After 1631, the situation changed. The English troops were lost; they were replaced by "High German comedians".

Witkowski's description of the stage at that time is worthy of special mention:

"Long beforehand, the wide space of the courtyard, which can hold a very large number of people, is densely packed. In front of the door, those entering have found a plaque on which it is written that a person's place costs six kreuzer. Normally the English have often asked for more, but this time they are not allowed to. The audience, who had paid the large sum (the German troops only got half a kreuzer), sat in front of and around the stage, which bore little resemblance to the one we see today. It consisted of a small scaffolding that was erected against the back wall of the courtyard and only took up a small part of it. It was open on three sides, only at the back was it covered with carpets, in front of which you could see a smaller raised scaffolding with stairs leading up to it. This served a dual purpose. Firstly, its platform was always used when an elevation, a city wall, a hill or a tower was needed. On the other hand, its interior was used to create a second stage on the stage, on which the scenes that took place in the chambers of the houses were performed. This second stage was equipped with decorations and could be closed off by a curtain so that it could be transformed while the front part of the scene was being played; an extremely practical insight that greatly benefited the structure of the dramas. Later, the width of the stage was extended over the whole back wall of the building in which they played, thus producing the present form of our theater, which is far removed from the former simple and yet so sensible use of the English.

But we already find the important principle of the front and back stage with them; the original cell, so to speak, of the present stage is already there."

In Germany itself, at the time when the theater was under the influence of the English, only dramatic poems were created, which were worthless for the real theater. They were inspired by the Greeks and Romans. It was not until Moliere and the French art developed by him that anything fruitful emerged again in Germany. A complete decline of the theater in the first half of the eighteenth century was followed by a revival thanks to Gottsched, who worked together with the brilliant stage artist Neuber. Even if the French influence has been freed from Germany again, this influence can only be described as extremely favorable at this time.